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Mapping the Future: The Role of the Scottish Glass Society in Sustaining

and Developing the Glass Sector in Scotland

Kirsten Gow

July 2020

SGS gratefully acknowledges the support of the Creative Scotland

Open Project Fund in the research and production of this report.

Off The Map, Inge Panneels

Image: Kevin Greenfield

Mapping the Future - K Gow, 2020

Mapping the Future - Table of Contents

Executive Summary

1 Context

2 Methodology

2.1 Surveys

2.2 Focus group

2.3 Interviews

2.4 Ongoing research

3 Findings

3.1 Role and baseline activity

3.2 Member support

3.2.1 Exhibitions

3.2.2 Digital tools

3.2.3 Professional development

3.2.4 SGS website

3.3 Education

3.3.1 Vocational training

3.3.2 Informal learning

3.3.3 Collaboration

3.4 Sector support

3.5 Operational

3.5.1 The Board

3.5.2 Fees and other revenue

3.5.3 Resourcing

4 Recommendations

#1 Practitioner support and development

#2 Use of digital resources

#3 Support for education

#4 Sector support

#5 Organisational development

5 Moving Forward

Appendix 1

Appendix 2


Executive Summary

In its 40th anniversary year, the volunteer-led Scottish Glass Society (SGS) seized the opportunity to take stock of

what it had achieved; what the current needs of its members and the wider Scottish glass sector were; and what

was needed to ensure the Society could continue to effectively promote Scottish glass and support practitioners

in the coming years.

Using funding from Creative Scotland’s Open Project Fund the Society employed a creative industries freelancer

to review the current work of the Society and make recommendations on the operational and strategic direction

for the organisation based on the needs of its members and the sector. Surveys and focus groups with SGS

members and interviews with key individuals in the creative sector identified a strong and widespread belief in

the value of the work of the Society, a desire to see the Society widen its activity base, and the recognition that a

more sustainable working model, with less reliance on volunteers, was required in order to do so. The key areas

of the Society’s work were identified as member support, education and sector support.

This research was carried out at a crucial time for the glass sector in Scotland, when the decline of formal glass

education in this county has reached a critical level. Whilst many of those working in the sector have tried to

counter the impact of this, through volunteering for the Scottish Glass Society or developing business models to

fill gaps left, research concluded that this effort is neither sustainable nor comprehensive enough in itself to

effectively tackle the very real threat to the glass sector in Scotland.

As a result, the report recommended the continuation of the baseline activity of exhibitions, bursaries, Journal

production, and strands of work required to ensure the Society can function on a day to day basis in line with its

legal and member obligations. However, the report recognised this may be a need to simplified and scaled back

to a more sustainable level (e.g. exhibitions in less high profile environments, less content in Journal / online, etc)

unless the Society moves to a working model less reliant on volunteer resources.

In terms of developing the work of the Society to strengthen the future of glass in Scotland, the report makes

the following recommendations:

1. Practitioner Support and Development: The Society should work with others to further develop the support

it offers to artists and makers, with an emphasis on providing professional development opportunities and

further routes to showcasing work.

2. Use of Digital Resources: In order to effectively serve the varied geography of Scotland and ensure that the

widest possible global audience is being reached, the Society should strengthen its use of digital resources.

3. Support for Education: The Society should work with education institutions and other course providers to

support the continued provision and development of glass education in Scotland.

4. Sector Support: The Society should use its position to promote the Scottish glass sector globally and

collaborate with others to strengthen the voice of the sector, both in Scotland and beyond.

5. Organisational Development: Improvements should be made to the structural and operational aspects of

the organisation in order to ensure the Society remains fit of purpose and capable of making the most of

opportunities to support Scottish glass.

The recommendations section of this report provides further detail of the extensive work the Society could be

undertaking within each of these areas, in line with the wishes of its members and the sector. However it notes

that securing paid support to develop the Society’s work, in this manner and at this critical point in the history of

Scottish Glass, is key to ensuring that we do not lose traditional skills or our ability to innovate – both crucial

elements for ensuring a future for the glass sector in Scotland.

A note on the global pandemic

This document was researched, and largely written, prior to the emergence of the global pandemic in 2020. Whilst the

findings and recommendations remain valid, some additional flexibility and innovation is likely to be required when it

comes to implementing future plans.


1 Context

The Scottish Glass Society was formally constituted

in 1980 after initial meetings in the previous year

which recognised the need for a support network

for makers and artists working with glass across

Scotland. Over the last 40 years the Society has

been run by its members, led by a volunteer board,

who have delivered a variety of resources, events

and support for members, and promoted Scottish

glass. This has included exhibitions, bursaries,

awards and events. Financial support for the

Society’s work has come from membership fees and

charitable donations. In addition, in-kind

contributions from various parties have supported

specific activity.

Whilst the work of the volunteers who have kept

the Society going for the last 40 years is to be

applauded, increasing pressures of the modern

world have reduced members’ availability for

volunteering. At the same time, delivering activity

has become more complex with additional factors

such as websites, social media, online newsletters,

health and safety, charity governance and GDPR to

consider.

Whilst a base level of activity – an annual exhibition,

bursaries and the production of the journal – have

continued to be delivered by volunteers, there has

been some inconsistency in the quality of this

activity and little scope for exploring opportunities

for developing wider support, collaboration or

promotion of the art form.

At the same time the glass sector in Scotland has

faced wider challenges, with the decline of formal

education opportunities, glass apprenticeships

becoming virtually extinct and a lack of specialist

support for practicing makers and artists who want

to continue their creative and artistic development.

Whilst the Society has been aware of this situation

for a while, lack of resources has made it difficult to

effectively tackle the issues facing the sector. The

Society has, however, endeavoured to strengthen

relationships across the sector, gain a better

understanding of the issues, and seek support for

projects which will support makers, artists and the

wider sector.

A successful application to Creative Scotland’s Open

Project Fund in 2016 saw SGS receive project funding

for the Celebration of Scottish Glass, which

capitalised on an anticipated spike in glass related

activity in Edinburgh that year as a result of the 20th

anniversary conference of North Lands Creative,

tying together the promotion of existing activity and

developing new events across Scotland add to this

activity. This funding allowed SGS to engage

freelance project managers who, in the course of

delivering additional events for artists and the

public, and working with other stakeholders on a

combined marketing strategy, also established

stronger links within the sector and identified wider

opportunities for collaboration and development in

the future.

These strengthened links and the success of the

project inspired the Voluntary Board of SGS to

develop more ambitious ideas to celebrate the 40th

anniversary of the Society in 2019, with Creative

Scotland Open Project Funding again awarded to

SGS for the SGS@40 project. This project covered

two strands of activity – the first encompassing a

range of activity including exhibitions, events,

publications and workshops to celebrate the 40th

anniversary year; the second focussing on the future

of SGS: taking stock of where the Society is now,

what it could be doing more widely to support the

sector, and what resources it needs to do this.

This report is based on the research carried out

within the SGS@40: The Future of SGS project

strand. Its recommendations set the basis for a

vision for the Society over the mid-term, and

outlines the support which is required to provide

effective support for the glass sector in Scotland at

this critical point in its history.


2 Methodology

The projects used a variety of methods to gather

information from members and stakeholders

including surveys (online and paper based), focus

groups and one-to-one interviews.

2.1 Surveys

The initial member survey carried out in spring 2019

allowed us to gather baseline data on what

members felt the role of the Society was, how

aware they were on the functions of the

organisation, and how they would like to see it

develop. Further surveys carried out at events held

as part of the SGS@40 celebrations gathered

further views from both members and non

members.

2.2 Focus group

A focus group was carried out in September with 8

members including professional, student and

‘friend’ members. The focus group were asked to

make recommendations on three areas of activity

identified as central to the operation of the Society

in earlier surveys – member support, education and

sector support. Specifically, participants were asked

to identify what they thought the top three

priorities were for each area of activity; who should

be doing work in this area; what resources were

needed to carry out the activity; and if there is

anything else to consider.

A second online focus group was scheduled but

cancelled due to lack of interest.

2.3 Interviews

As part of the research, one-to-one interviews were

conducted with the individuals listed in table 1.

Interviewees were asked what they thought the role

of SGS was; what they knew of the Society’s existing

activity; whether they thought there were

opportunities for further collaboration and

partnership across the sector and beyond; what

focus should be given to education and professional

development; and how this work should be

resourced. Individual interviewees were also asked

for views on areas specific to their field.

Whilst no one from City of Glasgow College was

available for interview, lecturers on the glass course

took part in the focus group conducted as part of

the research.

2.4 Ongoing research

The thoughts of the Board were sought throughout

the project – both individually and collectively – to

help develop the focus of the research and

determine what they felt were the key issues. Views

of the team working on the celebratory side of the

SGS@40 project were also sought throughout the

process.

In addition the research assessed the current

policies and procedures of the organisation at a high

level in order to identify opportunities for positive

development.

Name Organisation Area

Irene Kernan Craft Scotland Sector Support Agency

Carol Sinclair Applied Arts Scotland Artist-led professional body

Pam Reekie Contemporary Glass Society Professional body

Dr Jessamy Kelly Edinburgh College of Art Education

Daniel Sutherland Gray’s School of Art Education

Karen and Tom Young Angels Share Glass Business

Stephen Richard Stained Glass Supplies Business

Alan Poole Dan Klein Associates Collector / Curator

Table 1 – Research interviewees


3 Findings

3.1 Role and baseline activity

All those consulted felt that SGS continued to have

an important role both within the glass sector and in

the wider creative sector, within Scotland and

beyond. Specifically, there was a feeling that the

Society played a crucial role in championing glass in

Scotland and providing a platform for promoting

artists and makers.

Representatives of the Contemporary Glass Society,

Applied Arts Scotland and Craft Scotland all

recognised that SGS served artists and makers in

specific ways their organisations were not able to,

noting geographic reach, specialist knowledge and

type of activity as areas which differentiate SGS

from other organisations. Pam Reekie of the

Contemporary Glass Society felt their organisation

would struggle to offer the same level of

opportunities to those in Scotland as SGS does, but

stated that regional organisations such as CGS and

SGS have an important role alongside international

organisations like the Glass Art Society as they are

more responsive to local need and have the ability

to be more ‘hands on’.

Representatives from the HE and FE providers

consulted noted the importance of the Scottish

Glass Society in championing their graduates and

offering exhibition and bursary opportunities to

those starting out in their careers.

The annual exhibition was noted as a big draw for

members and many respondents felt that the mix of

open and juried exhibitions was key for an inclusive

approach which also encouraged creative

excellence. More widely, several respondents, from

interviews, surveys and focus groups, felt that one

of the core strengths of the Society was the fact

that it brought together artists and makers at all

levels of their career – allowing emerging artists to

exhibit alongside established, high profile artists

such as Alison Kinnaird in both open and juried

exhibitions. However, one respondent noted that

this came with its own challenges as it could mean

that some established artists feel that they have

‘moved beyond’ SGS activity.

Whilst the annual Journal produced by the Society

was not as much of a draw as it had been in the pre-

digital age, Dr Jessamy Kelly from ECA noted its

importance as a printed document which can be

preserved as an archive record of glass in Scotland

in addition to showcasing the contemporary

Scottish scene internationally through distribution

to key glass institutions across the globe.

In the survey carried out in spring 2019, members

clearly indicated that the Society’s baseline activity

of exhibitions, bursaries, discounts and events

continued to be important aspects of the Society’s

work and that the opportunity to be a part of the

SGS network, support the sector and showcase their

own work were key reasons why members joined

the Society in the first place and also why they

continued to be members.

There was a lack of knowledge about some areas of

the Society’s activity, both from interviewees

outside of the organisation and from within the

membership. Specifically, more could be done to

improve knowledge of the availability of and

audience for bursaries and supplier discounts.

Three key themes – member support, education and

sector support – emerged from feedback on the role

of the Society with participants indicating they

provided a balance between supporting existing

members and the future of the sector. Whilst these

three themes were deemed core to the work of the

Society, when asked to prioritise them the user

group were clear that member support was top

priority, followed by education and then sector

support.


3.2 Member support

Several of those consulted expressed a desire to see

the Society build on existing baseline activity, with

many noting the potential for the Society to further

develop opportunities to showcase members’ work

(online exhibitions, exhibiting outside of Scotland,

etc) as well as offering more professional

development opportunities

Members identified a range of other benefits they

would like to see the Society explore (see appendix

section 2.2.a), from practical support with things like

insurance and discounts, to professional

development opportunities via workshops and

mentoring. Further development of these could be

used as effective marketing tools to increase

membership.

3.2.1 Exhibitions

The opportunities provided by the annual

exhibitions were seen as one of the key ways in

which the Society supports its members, and Dr

Jessamy Kelly of ECA welcomed the inclusion of

Sarah Rothwell, Curator Modern and Contemporary

Design at National Museums Scotland, as a juror for

the On The Edge exhibition, stating that this kind of

approach should be encouraged to further raise the

profile of both the Society and its members.

The idea of developing new forms of exhibition to

showcase members’ work was suggested by a

number of participants. This included online

exhibitions; industry exhibitions; and exhibitions

showcasing a specific glass medium (possibly

combined with demonstrations). Online exhibitions

were noted as particularly appealing to students

who already tend to have strong digital skills.

The research identified a general lack of specific

provision across the sector to support ‘mid-career’

artists, noting that this demographic suffers from

high drop-out rates with people feeling like they lack

the validation and the income required to continue.

It was suggested that specific support for this area –

such as mid-career shows – would be beneficial in

tackling this.

3.2.2 Digital tools

Feedback on the use of digital channels through the

funded SGS@40 project timeframe was

overwhelmingly positive with members welcoming

opportunities to reach new audiences via structured

social media campaigns such as Member of the

Month, videos featuring those artists exhibiting in

shows, and articles in digital press profiling

members.

However, the research also identified that more

could be being made of digital on a consistent basis

to enhance the work of the Society with one survey

respondent noting:

“The website should be the place to

go for anyone wanting to know

about glass in Scotland – the place to

find an artist, to identify places to

visit, to find a course or facility, etc.”

It was noted that enhanced use of digital tools could

also help serve members and the sector across the

wide and diverse geography of Scotland, and widen

the audience for Scottish glass by improving

profiling of members on the existing website;

developing the site further to include information

on resources and courses; and using targeted social

media campaigns (e.g. member of the month),

online exhibitions, and talks held via video

conferencing to showcase members’ work.

3.2.3 Professional development

Increased provision of, and support for, continuous

professional development opportunities for

practitioners was seen as the top priority for

developing the Society’s work by members

surveyed. More widely, development of this area

was seen by those interviewed as crucial to the

continued health of the glass sector in Scotland.

Feedback indicated a strong desire to see the

Society developing their own opportunities for

practitioners, and also working with others to

develop and highlight wider opportunities.


A wide range of options were suggested for aiding

continued professional development including:

short courses covering:

o technical skills,

o artistic development,

o business development;

mentoring;

internships;

residencies and exchanges;

artist talks;

workshop visits;

online resources such as fact sheets and

‘how-to’ videos.

It is suggested that increased provision in this area

would not only serve the needs of existing

members, but also encourage more artists and

makers to consider joining the Society.

The Society recently worked with City of Glasgow

College and Angels’ Share Glass to offer a technical

skills course and a workshop visit / taster session

and received overwhelmingly positive feedback

from all involved in these sessions with both the

hosts and the students keen to see more activity like

this in the future. In interviews, education

representatives and businesses all indicated that

they would be interested in working with SGS to

develop wider professional development

opportunities. Working with these organisations

and others with existing facilities has the potential

to not only support individual artists but also

support the sector by making use of infrastructure

already in place.

The potential for mixed-media courses was

highlighted by one interviewee as a way of

introducing artists working in other areas to glass

and also to encourage innovation and creative

development amongst existing glass practitioners.

Carol Sinclair from Applied Arts Scotland indicated

that the organisation would be open to exploring

ways in which AAS could collaborate with SGS to

provide professional development opportunities

across practices.

Alongside material-specific technical skills courses,

several respondents suggested that a focus on areas

of presentation such as photographing glass to help

artists and makers showcase their work more

effectively, both in exhibition applications and in

print and online media. This was reiterated in

feedback from the jury for the 2019 On the Edge

exhibition who noted the wide variability in the

quality of the photography submitted.

Dr Jessamy Kelly from ECA noted that resources

which helped practitioners understand the options

for financial support for creative development

would be valuable to practitioners, as would advice

on writing funding bids, particularly for graduates.

Technical mentorships, where the focus was on

developing a set of technical skills, were proposed

as either a less formal alternative to an

apprenticeship or the ‘next step’ for an emerging

artist or maker who has gained a general grounding

in glass and was seeking to specialise. It was

suggested that these would benefit the sector both

by passing on skills to a new generation of makers,

and also by paying established artists to share their

expertise. Interviewees felt that SGS was in a strong

position to co-ordinate such mentorships, though

adequate resourcing was key.

In a similar vein, the research suggested that SGS

could play an important role in supporting

businesses to develop wider opportunities for

internships in the sector by offering both advice and

a structure for identifying potential employers and

interns.

Funded residencies and international exchanges

were suggested as ways to both aid creative

development for individuals and promote create

excellence in glass. It was noted that leanings could

be taken from the project which Applied Arts

Scotland has been developing to connect

international and Scottish makers and that there

may be potential for some collaboration on this in

the future.

Artists talks, workshop visits and trips remained

popular ideas for professional development

opportunities, however it was noted that the

geography of Scotland and the spread of members

meant that access to these was varied. It was

suggested that the Society should consider ways in

which technology can be used to facilitate some of

these areas (online talks or pre-recorded museum

tours) and also options for offering financial support

for travel costs of artists and makers who want to

attend physical events.

3.2.4 SGS website

Further development of the Society’s website was

strongly recommended with feedback indicating


there was much potential in several areas including

providing better access to professional

development opportunities. It was suggested that

this could include providing a central database of

opportunities in Scotland and by offering new digital

resources such as fact sheets and ‘how-to’ videos.

It was noted that Applied Arts Scotland was

developing a web-based business development tool

kit in conjunction with the British Council and that

there may be opportunities to roll this out to SGS

members once it is launched.

Follow up note

The global pandemic has accelerated the use and acceptance of digital channels to facilitate ways to engage

with each other at a distance. The Society has the opportunity to build on this, learning from its own

experience of running artist presentations for the virtual Glass Art Society conference as well as the

experience of others including:

online technical skills courses run by Warm Glass;

online exhibitions run by the Contemporary Glass Society;

weekly online coffee mornings hosted by Applied Arts Scotland;

online creative development courses run by London School of Drawing.


3.3 Education

Throughout the consultation, the erosion of formal

glass education was recognised as a threat to the

sector, to traditional skills, and to technical

innovation in this country. Irene Kernan from Craft

Scotland welcomed the strong grass-roots interest

in crafts but noted the limited options for formal

learning and the challenges faced by institutions. In

Scotland formal education opportunities are now

restricted to just one HNC level course1; one degree-

level 3D design course2 which incorporates glass as

part of the curriculum; and one institution3 offering

the opportunity to study glass at post-graduate

level.

Research identified that leisure classes from

institutions such as City of Glasgow College,

businesses such as Stained Glass Supplies and

individual practitioners now make up a significant

proportion of both basic education and professional

development provision in glass in Scotland and are

often where artists and makers first encounter the

medium. Whilst the diversity this can provide is

welcome it is noted that this comes with its own

challenges. These include:

lack of provision for some niche skills sets

(e.g. engraving);

lack of recognition for learners via formal

qualifications;

lack of support (financial and wider

educational support) for learners;

duplication of effort in creating and

promoting opportunities;

variability of teaching standard and learner

experience;

varied geographic access to learning;

the perception of glass education as purely

a leisure activity;

the reliance on small businesses for

provision, who have wider responsibilities

and are more sensitive to fluctuations in the

economy.

The research identified a desire for wider

collaboration across the education sector – both

formal and informal – to strengthen glass education

in Scotland. However, it was also noted that many

1 City of Glasgow College 2 Gray’s School of Art, Aberdeen 3 Edinburgh College of Art

formal education providers feel the need to focus

their energy on ensuring the future of glass

education provision in their own institutions, which

is still seen as precarious.

Whilst there have been some positive moves by

individuals within institutions to try to increase

engagement with potential learners, this is often

being carried out by lecturers in addition to the main

teaching responsibilities they have, rather than

forming a core part of their role or being led by a

student recruitment team. Positive examples of this

include the school outreach programme undertaken

by a small group of lecturers and former students at

City of Glasgow College, with support from SGS, to

drive recruitment to the HNC course after it was

downgraded from a HND. This involved creating

case study resources and providing taster sessions

for staff and students at high school level to target

students who may be interested in pursuing study in

glass. There is scope and willingness to develop this

further, though resource is needed to do this

effectively.

The potential for greater collaboration to support

those who do find their way into formal glass

education was also noted, with Dr Jessamy Kelly

suggesting that there was scope for an annual SGS

talk to students to hear from an artist working in the

field and also learn more about the Society. More

widely, feedback indicated that the opportunity for

students and recent graduates to participate in SGS

activity was positive both in terms of accessing

knowledge and developing their creative CV, and

that this was an area ripe for further exploration.

Dr Kelly also suggested that further opportunities

for students and graduates could be developed by

widening the scope of the student prizes SGS have

awarded on an adhoc basis in recent years to

include a post-graduate prize or consider categories

based on the specific art form such as casting,

blown glass, stained glass, etc. She noted that the

monetary value of the awards is often secondary in

nature to the external validation they offer to

emerging artists, and that many organisations keep

the monetary value of their awards low by offering

in-kind prizes such as membership.

It is therefore clear that there is room for greater

support for glass education in Scotland and that it

would be beneficial for the Society to explore ways

to strengthen networks between education


providers, engage with learners, and support efforts

to secure a solid future for glass education in

Scotland.

The idea of a generalist craft degree was raised by

one respondent, though interviewees had mixed

views on this. Whilst it was noted that using a

similar format to the 3D Design degree offered by

Gray’s School of Art, where student gain an

understanding of different materials in their first

and second years before choosing a specialism,

could encourage some learners to consider glass

where they would not have before, some

respondents noted concerns that this would not

allow students to get a real, in depth understanding

of the material and its range of applications without

additional training opportunities such as graduate

apprenticeships.

3.3.1 Vocational training

In addition to formal, college-based learning and

informal learning, the research noted concern over

the lack of apprenticeships which were traditionally

a key route for passing on skills and experience in

traditional crafts such as stained glass, etching and

glassblowing, and are likely to be more appropriate

routes for many learners wishing to develop their

practice through a craft approach rather than

academic learning.

The Modern Apprenticeship for Glass Industry

Occupations appears to be the only formal

apprenticeship available within the sector and has a

commercial focus suited to those wishing to work as

glaziers. Whilst assistantships occasionally become

available with some commercial glassblowing

studios, competition for these is high and

candidates are generally required to have gained

prior experience.

It was noted that Angels’ Share Glass are one of the

few commercial studios who actively provide

internships for art glass production. The business is

keen to collaborate with others to develop more

opportunities of this nature as well as wider

professional development opportunities for artists

and makers.

Dr Jessamy Kelly at ECA raised concerns over losing

specific skillsets in Scotland, highlighting the field of

glass engraving in particular. Expensive set up costs

alongside the requirement to invest time in

developing the required handskills were identified

as barriers to entry in this area and it was suggested

that a form of apprenticeship, internship or

mentorship could be developed tackle the decline.

It is noted that engraving equipment was recently

donated to the Society by retired engraver, Sheila

Love, which could be loaned to a learner as part of

such a programme, though funding would be

needed for mentor time.

Irene Kernan from Craft Scotland raised the

example of metalworker Daniel Frame who chose to

take a self-directed ‘journeyman’ route in his career

after completing an apprenticeship, working in

production facilities across Europe and investing

time in developing skills. It was noted that the

breadth of knowledge this approach had provided

allows him to push boundaries and experiment and,

at this mid-point of his career, he is now studying for

a degree to develop the conceptual side of his work.

Whilst supporting this kind of approach could be

investigated, it was noted that Frame’s route was

self funded and self managed, restricting the

accessibility of this way of learning for those who do

not themselves have the resources or who require

support with the planning.

Carol Sinclair indicated that Applied Arts Scotland

had been exploring creative apprenticeships and

both she and Irene Kernan of Craft Scotland

indicated that there may be opportunities for

collaboration with SGS in this area to develop better

support for learners taking a vocational route.

3.3.2 Informal learning

It was suggested that the development of a

database of courses and resources on the SGS

website would help promote opportunities for

learning. This would include professional

development for existing practitioners (see section

3.2.3) but also encourage new learners into the field

to feed into more formal education routes. It is

strongly recommended that any such database is

supported by resources signposting opportunities

for further learning, regardless of the stage the

learner is at, in order to assist them in their

educational development.

3.3.3 Collaboration

Alongside collaborations with the education

providers, businesses and creative organisations

already mentioned, it is recommended that the

Society explores options of working with other


related organisations, such as the British Society of

Scientific Glassblowers and the Worshipful Company

of Glaziers and Painters of Glass, to maximise efforts

to improve education provision in Scotland.

Equally, it will be key to develop relationships with

bodies such as Skills Development Scotland and the

Scottish Government to work towards medium- and

long-term goals for improving glass education

provision in Scotland.

Furthermore, developing stronger links with

international partners, including SGS equivalents in

other countries, educational institutions and

business, will be key to developing wider learning

and exchange opportunities.


3.4 Sector support

Respondents from all sources felt that the Society

was well placed to be offering sector support

through co-ordinating cross-sector collaboration

and advocating for the sector, but that it is unable

to do so effectively at present due to reliance on

volunteer time.

In the survey of members in spring 2019 the majority

of respondents indicated that supporting the wider

glass sector was a key reason for being a member of

the Society. However, whilst focus group

participants recognised the importance of this

stream of work, they prioritised this in third place

after member support and education respectively.

This report has already identified the potential for

sector support within the themes of member

support and education through collaboration to

develop learning and mentorship opportunities;

further developing opportunities to showcase

Scottish glass; creating a database of course and

resources; and supporting networking. In addition,

there was a clear message from those interviewed

that the Society had the opportunity to advocate for

sector at a regional and national level, and to gather

and communicate data about the sector.

Carol Sinclair from Applied Arts Scotland and Irene

Kernan from Craft Scotland noted that SGS has

potential to strengthen the voice of the craft sector

generally, and the glass sector specifically, through

collaboration and information sharing with national

bodies, funders, government, other craft sector

bodies etc. Sinclair suggested that SGS was well

positioned to lobby for better provision for crafts in

schools and protection of dying skills, stating that it

should be core to the Society’s activity whilst also

recognising that this was a big job and that

organisations such as SGS and AAS should be

working together on this area.

Similarly, Irene Kernan from Craft Scotland indicated

that SGS had the opportunity to identify and

promote the specific needs of the glass sector to

funders, educators and decision makers at regional

and national levels to strengthen the sector stating

that this approach, and wider collaboration with

other sector organisations, would strengthen the

voice of the craft sector.

Respondents across all formats also indicated

strong support for the Society to look beyond

Scotland for opportunities to promote the sector by

showcasing Scottish glass at events such as the

International Festival of Glass and the Glass Art

Society’s annual conference.

The Society is in a strong position to build on

existing collaborations with a range of organisations

and businesses to further support the sector and all

those interviewed indicated they would be keen to

build stronger links with SGS. Tom Young of Angels’

Share glass indicated that the company was very

keen to further develop collaborations with the

Society, such as the lampworking taster sessions run

for members as part of the SGS@40 celebrations.

In addition, he echoed Dr Kelly’s suggestion about

developing awards but encouraged the Society to

consider widening this out to include a ‘rising star’

award for those undertaking in-house training from

businesses.


3.5 Operational

Whilst there was wide appreciation for the

volunteer effort that has sustained the Society over

the last 40 years, there was also wide recognition

that SGS needs to review its operational practices to

ensure that it remains fit for purpose. The need to

do this is even more pronounced if the Society is to

further develop its work.

A high-level review and evaluation of internal

processes was undertaken during the SGS@40:

Future of SGS project and a number of actions were

taken including:

- a constitutional review;

- the creation of role descriptions for board

members;

- strategic board recruitment;

- a partial review of internal processes;

- a survey of attitudes on member / exhibition

fees;

- a review of digital resources.

It was noted that further work in this area was

required including streamlining membership

administration (both practically and in technical

terms); increasing resilience by formalising

processes; and developing a robust communications

strategy. One interviewee also recommended

reviewing the annual calendar of activity, suggesting

that spreading opportunities such as bursaries, talks

and exhibitions across the year provides wider

opportunities for PR and more ‘contact points’ with

members.

The strongest feedback in this area was that SGS

should move away from a reliance on volunteer

effort to carry out the bulk of its activity and seek

funding to support the ongoing development of its

work. It is suggested that this will not only allow the

Society to act more effectively for its members and

strengthen the sector, but that it will also reduce

the burden of expectation on volunteer board

members, who currently take on the responsibility

for the day to day running of the organisation. This

in turn would encourage a wider range of members

to consider becoming more actively involved as

board members.

3.5.1 The Board

Whilst the fact that the board has been traditionally

made up of artists and makers has been positive in

many ways, the arts administration / charities

landscape has changed over the last 40 years and

there is now a much greater burden on

organisations like the Scottish Glass Society in terms

of governance and legislative requirements which

require some specialist knowledge. In addition, the

emergence and growth of new technology has

opened up multiple new avenues for the work of

the Society and, whilst these provide exciting

prospects, an investment of time and support from

those with specialist knowledge is key if SGS is to

continue to effectively serve the sector.

It is crucial that the voices of artists and makers

remain at the core of the organisation, however the

research indicated that there is value to be gained

from seeking to recruit those working more widely

in arts management / administration to develop the

expertise of the board. As well as aiding the Society

in its work, this approach would provide

professional development opportunities to those

within the wider creative sector looking to gain

experience as a board member. This process was

started in 2019 with the recruitment of two new

board members with wider experience of the

sector.

In addition, it is likely that the board, and therefore

the work of the Society, would benefit from

investment in terms of time and training to

effectively develop and implement the

organisation’s strategy. This could, in part, be

facilitated by restructuring responsibility and

obtaining paid professional support in the form of a

project worker to remove the burden of the day to

day running of the organisation from the board.

However, consideration should also be given to

providing guidance for board members on key

issues such as governance and strategic

development through one to one training and / or

facilitated strategy sessions.


3.5.2 Fees and other revenue

Members were asked about their attitude to fees

for both membership and exhibitions as part of the

spring 2019 survey.

There has been little movement in membership fees

over recent years and the table below indicates how

this compares with some of other relevant

organisations in the sector. The Society’s current

membership fees are at the lower end of this

spectrum, particularly when the key benefits for

artist members are considered.

Standard Student / Graduate

Corporate / Organisational

Friend Key benefits for artists / makers

Scottish Glass Society

£35 £17 £70 £25 Exhibition opportunities, bursary opportunities, discounts, online profile, promotional opportunities, priority event booking.

Contemporary Glass Society

£60

£35

£100 - Exhibition opportunities, support opportunities, discounts, online profile, promotional opportunities, priority event booking.

Applied Arts Scotland

£25 £15 £25 £15 Online profile, priority event booking.

Craft Scotland £49 - £79 - Online profiling, promotional opportunities.

Scottish Artists Union

£60 £36 - - Free insurance, discounts, learning opportunities.

Though survey feedback on the present

membership fees shows general support for the

current system, a number of members feel that

professional, student and corporate memberships

especially are too low (16%, 15% and 26%

respectively). As the Society’s work develops there

is, therefore, clearly a case for reviewing

membership fees to ensure that they reflect the

opportunities being offered to members.

In the written responses to the survey one

respondent noted that current fees ‘did not

generate sufficient revenue to offer member

benefits, run events, support the website’, whilst

others noted that they seemed low in comparison to

other organisations and that a marginal increase

was likely to have minimal impact on membership.

The fees for corporate membership was set ‘too

low’ according to 26% of survey respondents and

Tom Young and Karen Sommerville from Angels’

Share Glass indicated that they would not be put off

by a rise in corporate fees, believing it was good

value for money and that the company gained from

their membership. Specifically they noted that they

used to be individual members but changed to

corporate membership as it meant that their

employees could also benefit from the Society’s

activity, which is something that should be

considered when setting fees and should be used as

a tool for marketing corporate membership.

It was suggested that there could be additional

ways for collectors and supporters of the sector to

support the Society and learnings could be taken

from the work CGS has undertaken to encourage

private donations at higher levels.

In line with many others in the sector, the Society

has traditionally charged an additional submission

fee for exhibitions to help cover costs. The Society

also takes commission on work sold.

When asked about the fees for the 2018 open

exhibition (£25 / £15 standard/student fee for up to

three pieces) most members thought these were


fair, though a significant proportion thought they

were too low (31% and 21% respectively).

Respondents were also unanimously supportive of

an extra fee of £15 for those who were not able to

provide half a day’s volunteer time for exhibition set

up, invigilation or take down, with 11% indicating

they believed the fee should be raised and one

respondent noting that this was a good way to

encourage members to volunteer.

It was noted that the level of fees charged for

exhibition entries has been a topic of discussion

amongst the board and with funders on several

occasions and, whilst it is important that the Society

is able to cover the cost of mounting annual

exhibitions as part of its baseline activity, it was

suggested that more work to consider wider

options should be undertaken. This could include

looking at a funding from other sources; only

charging a fee to successful applicants for a juried

exhibition; and increasing the membership fee but

making exhibition entry free for members.

3.5.3 Resourcing

The requirement for paid professional support to

maintain and develop the work of the Society was

recognised unanimously and universally across the

consultation formats.

Pam Reekie of the Contemporary Glass Society

noted that she had been impressed by the

professionalism of the Societys’ recent joint

exhibition, Glorious Glass, but that it had been

difficult at times to get the information and the

decisions needed from SGS volunteers. More widely,

several respondents noted that reliance on

volunteer effort can create issues with making the

most of invitations for collaboration, engagement

with members, and the day to day management of

the Society.

There was strong positive feedback about the

increased level of activity during the 40th anniversary

year, which was enabled by project funding from

Creative Scotland and the employment of freelance

project officers. The marked improvement in social

media presence, media coverage of Scottish glass,

opportunities for face to face engagement and

relationship building was highlighted regularly by

members and those in the wider sector throughout

the anniversary year. Several interview respondents

noted the positive impact SGS@40 funding was

having on the visibility of Scottish glass and

opportunities to get involved with the sector.

100% of members and attendees surveyed at SGS

events chose the option ‘Paid professionals

supported by volunteers’ when asked who should

be responsible for carrying out SGS activity (the

other options being ‘volunteers only’ and ‘paid

professionals only’).

When asked the same question in a pre-focus group

questionnaire, one participant thought that the

work should be carried out only by volunteers.

When surveyed again after the focus group, having

discussed the potential areas of work for the

Society, the participant had changed her opinion

and now agreed with the rest of the focus group

participants that work should be carried out by ‘Paid

professionals supported by volunteers’. This

indicates that educating people on the scope and

possibilities of the Society’s work improves

recognition of the need for professional support.

Pam Reekie of the Contemporary Glass Society,

which itself operates with paid members of staff,

noted that funding and a paid position is ‘the only

real way to make a difference’ and ‘it cannot all be

done with volunteer support’. However, she

emphasised the importance of continuing to include

volunteers into the mix to keep makers at the heart

of the Society’s work and to ensure that

responsibility for the success or failure of the

organisation does not fall to a single person. These

sentiments were echoed by all interviewees from

education, business and the creative sector.


4 Recommendations

Whilst there are several valuable lessons to be taken

from this report, the findings of the research point

to five key recommendations for the development

of the Society’s activity over the next five years.

These recommendations concern new activity only

and this activity should be undertaken in addition to

the baseline activity already carried out by the

Society so as not to erode the valuable contribution

SGS already makes to the sector in Scotland.

Specifically, this baseline activity includes:

facilitating one annual exhibition for

members;

awarding two annual bursaries (travel award

and professional development award);

producing the annual Journal (free to all

members and distributed to key glass hubs

across the globe);

managing memberships;

maintaining the SGS website and social

media profiles;

producing members’ e-newsletter;

ensuring correct governance as a charitable

organisation.

However, whilst the Society is committed to

delivering baseline activity, it is likely to need to

simplify and scale back even this activity to a more

sustainable level (e.g. exhibitions in less high profile

environments, less content in Journal / online, etc)

unless it is able to access more resource to balance

the volunteer effort required.

It is clear that the recommendations of this report

cannot be enacted using the existing model of

artists volunteering their time without undue

pressure falling on individuals. Even if this were

possible, it is highly likely that it would continue to

require an investment of time from individual

practitioners for the maintenance and development

of Society activity which could otherwise be used for

their own creative development.

The time and energy required to develop further

activity, even just basic digital resources, should not

be underestimated and it is clear that there is a lack

of volunteer capacity to develop these areas. It is

therefore strongly recommended that the Board

seeks specialist, paid assistance in developing and

maintaining these resources to avoid issues of

variable expertise which the Society has faced in the

past, and ensure consistency.

#1 Practitioner support and development

The Society should work with others to further

develop the support it offers to artists and makers,

with an emphasis on providing professional

development opportunities and further routes to

showcasing work.

This includes:

creating online resources and a programme

of regular workshops to facilitate technical,

creative and business development for

those currently working with glass or

interested in exploring the medium;

facilitating technical mentoring

opportunities and internships, and

facilitating artist talks and studio visits, to

promote the sharing of skills;

investigating opportunities for international

artist exchanges and funded residencies;

extending the range and number of

exhibition opportunities for members;

further developing its use of digital tools to

showcase members’ work to a global

audience;

working with other sector organisations to

explore the capacity for joint exhibitions and

projects;

exploring opportunities for collaborative

purchasing.

#2 Use of digital resources

In order to effectively serve the varied geography

of Scotland and ensure that the widest possible

global audience is being reached, the Society

should strengthen its use of digital resources.

Specifically, the Society should look at:

developing online exhibitions to increase

accessibility / participation for both artists

and audiences regardless of their location;

developing an online database of resources,

courses, facilities, suppliers and support for

artists and makers in Scotland;

upgrading the functionality, structure and

content of the Society’s website to facilitate


the developments outlined above and

improve profiling of members;

providing support to members to encourage

better use of the Society’s website to

showcase their work;

creating planned social media campaigns to

highlight contemporary Scottish glass;

developing wider online resources to

support the creative development of the

Society’s members.

#3 Support for education

The Society should work with education

institutions and other course providers to support

the continued provision and development of glass

education in Scotland.

This includes:

providing practical assistance in the

promotion of courses and recruitment of

students;

strengthening educational networks both

within Scotland and beyond to better

facilitate the flow of learners through

education levels;

actively campaigning for improved provision

of glass and general craft education at all

levels;

increasing on-campus activity to provide

students with more opportunities to interact

with the wider sector and improve visibility

of the Society;

formalising and developing a student and

graduate awards programme;

collaborating with others to develop

opportunities for internships,

apprenticeships and other vocational

training opportunities;

creating a database of informal and leisure

course providers to improve visibility of

routes into formal learning;

identifying further ways to support informal

learning to recognise its value and promote

good practice;

collaborating with educators to create joint

projects to promote and strengthen the

sector.

#4 Sector support

The Society should use its position to promote the

Scottish glass sector globally and collaborate with

others to strengthen the voice of the sector, both

in Scotland and beyond.

This includes:

building relationships with funders, policy

makers, and support agencies to influence

key decisions which impact on the sector;

actively gathering, analysing and publishing

data on the sector to assess its health and

identify strategies for continuous growth

and improvement;

developing partnerships with professional

networks and institutions overseas with a

view to exploring collaboration

opportunities to showcase Scottish glass;

having a presence, as standard, at events

such as the International Festival of Glass /

British Glass Biennale;

developing a programme of awards

recognising innovation and talent in the

Scottish glass sector, including graduate and

industry awards.

#5 Organisational development

Improvements should be made to the structural

and operational aspects of the organisation in

order to ensure the Society remains fit of purpose

and capable of making the most of opportunities to

support Scottish glass.

This should include:

moving to a more sustainable working

model which uses paid professionals to

support baseline activity and develop the

recommendations of this report;

reviewing and formalising the day to day

management processes of, and roles within,

the organisation to ensure they are efficient

and effective;

provision of board development to ensure

that the Board has the skills needed, via

wider recruitment and training of existing

board members, to allow it to support the

sector and maintain compliance with

obligations relating to its activity as a

registered charity;


ongoing review and development of the

organisations strategy in line with the needs

of the sector;

reviewing fees in line with the research

carried out for the SGS@40 project and

investigating a wider range of financial

support options to secure the ongoing work

of the Society;

reviewing the organisation’s finances and

working towards building reserves to

support the long term strategy of the

organisation.


5 Moving Forward

In order to enact the recommendations of this

report the Society will need to seek funding to

support its activity.

Whilst, in the short term, this will require volunteer

effort to identify potential funding streams and

apply for support, the impact of this work will be a

reduced reliance on unpaid volunteers for the day to

day running of the organisation and the

development of its work. This will, in turn, give the

Board more scope to concentrate on the strategic

direction of the organisation and more capacity

explore how work can be further developed. As

pressure on the board to facilitate the day to day

activities of the organisation eases, it is anticipated

that a wider range of people will feel able to

participate in the Society at board level, further

strengthening the organisation.

Some recommendations of this report could be

acted upon by developing a series of discrete

projects – for example strengthening digital

resources, provision of professional development

opportunities and increased collaborative working.

At the very least, consideration should be given to

how these projects are structured and funded so as

not to add further reliance on volunteer effort. This

includes ensuring that project funding covers all

logistical and administrative elements of the project

where the project would not be able to function

without this support, even where they cross over

with baseline activity.

However, whilst baseline activity and organisational

development strands of the Society’s work can be

supported to an extent in this way, a more

consistent, longer term approach is required to

allow the Society to function at a consistent level.

Given the position of the Society and the potential

for the development of its work, there could be a

strong case for regular funding through Creative

Scotland and further advice on this should be

sought.

In the longer term, it is recommended that the

Society looks ahead to its 50th anniversary in 2029,

beginning preparations for this no later than 2026,

to ensure that the opportunities to showcase the

wealth of creative talent in the Scottish sector can

be showcased globally, including investigating

opportunities to work with the Glass Art Society to

bring the international conference to Scotland for

the anniversary year.

With adequate financial support there is no reason

to believe that all of the recommendations of the

report cannot be enacted given the willingness of all

those consulted during the research stage to work

together to celebrate, promote and develop the

diverse and innovative glass sector in Scotland

under the leadership of the Scottish Glass Society.

SGS@40: The Future of SGS Members’ survey results

Appendix 1

Report on the results of the Scottish Glass Society

Members’ Survey: Spring 2019

1 Background

As part of the SGS@40 project, the Scottish Glass Society (SGS) is examining the future of the SGS to ensure it

remains relevant and fit for purpose. As a membership organisation, the views of its membership are key. By asking

them what they value about the Society, how they feel about the way it currently conducts its business, and how

they would like to see its role develop, we can ensure that the wishes and needs of members remain at the heart of

the Society.

The online survey was made available to members for 6 weeks in spring of 2019 and will be used as the basis for

further discussions on the Society’s future.

SGS gratefully acknowledges support from Creative Scotland’s Open Project Fund for the SGS@40 project which has

allowed them to conduct this survey.

2 Survey responses

2.1 Membership

The survey elicited 32 responses from SGS members, representing 30% of paying members at the time of the

analysis, which is a fairly standard sample size for surveys of this nature.

There was a mix of established and new members taking the survey (table 1), with the newest member having joined

8 months ago, and the longest-serving members having been with SGS for the full 40 years.

Left: Table 1 | Below: Table 2

Reflecting the make-up of the membership, 77% of

respondents were ‘Professional’ members –

individuals actively working with glass; 16% were

student members actively working with glass; 7%

were ‘Friends of SGS’ including collectors (table 2). No

corporate members responded to the survey, though

these form a small percentage of the membership and

will be contacted separately for comment.

0

2

4

6

8

10

12

14

less than a year

1-5 years 6-10 years 11-20 years 21-25 years more than 25 years

Nu

mb

er o

f m

emb

ers

Years of membership

Approximately how many years have you been an SGS member?

Type of membership

Friend of SGS

Professional

Student


Members were asked why they first joined the Society and were allowed to select multiple reasons (table 3). Whilst

there was a strong emphasis on applying for an exhibition (70% of those with eligible membership) there was also

strong evidence of a shared desire to be a part of the SGS community and network with others (97%). This possibly

reflects the fact that many members work alone in studios and use the Society to seek support and camaraderie

from others working in the field.

Table 3

When asked why they continue to be members of SGS (table 4), the desire to be a part of the SGS community and

network with others increased to 100%. There was also an increase in those who value the role their membership

plays in supporting the wider glass community and in giving them access to SGS events, supporting anecdotal

evidence that there is a strong desire for cross-sector collaboration to strengthen the sector as a whole.

Table 4

0

5

10

15

20

25

30

35

Why did you first join the Scottish Glass Society?

To be part of SGS community / network with others

To support the glass sector in Scotland

To submit to an exhibition

To attend an event

To apply for a bursary

0

5

10

15

20

25

30

35

Why do you continue to be a member?

To be a part of the SGS community / network with others

To support the glass sector in Scotland

To submit to exhibitions

To attend events

To apply for a bursary


Six respondents (19%) indicated that they had been involved in the wider work of the Society in a range of ways

including logistical support for exhibitions, serving on the committee, writing funding bids, providing prizes for

exhibitions, and distributing information to promote exhibitions and events.

A further three respondents indicated that they would be happy to become more widely involved in the work of the

Society, though two noted issues with their location. This indicates that there remains opportunity for wider

participation in the core work of the Society, though geographical barriers need to be addressed.

2.2 Membership benefits

There was generally a good level of awareness of the benefits on offer to SGS members (table 5) though more could

be done to highlight the opportunities for bursaries and discounts, with only 59% and 63% awareness respectively.

Table 5

This is reflected in the uptake of membership benefits. When asked ‘which of these have you taken advantage of as

an SGS member?’:

83% of eligible members had entered an open exhibition;

67% of eligible members had entered a juried exhibition;

20% of eligible members had applied for a bursary;

43% of eligible members had used supplier discounts;

59% of members had attended trips or events.

Whilst the majority of respondents have already taken advantage of membership benefits or may do so in the future

(tables 6-10), 31% of respondents indicated they were not interested in bursaries. Further investigation may reveal

if this is due to the fact that they do not require financial assistance or whether they are have assumed they are not

eligible to apply – i.e. believed they are only available to students.

0

5

10

15

20

25

30

35

Which membership benefits are you already aware of?

open exhibitions

juried exhibitions

bursaries

supplier discounts

events / trips


Table 6 Table 7

Table 8 Table 9

Table 10

2.2.a Additional benefits

When asked which additional membership benefits they would like us to explore (table 11) 83% of professional /

student members indicated that they would welcome further professional development opportunities such as

workshops and resources. Wider discount on materials was the second most popular answer (72%) whilst exploring

Entered an open exhibition

Have already

May in the future

Not interested

Entered a juried exhibition

Have already

May in the future

Not interested

Applied for a bursary

Have already

May in the future

Not interested

Used suplier discounts

Have already

May in the future

Not interested

Attended a trip / event

Have already

May in the future


opportunities for online exhibitions; showcases of work outside of Scotland; professional insurance; opportunities to

promote artwork; discounts on tools and discounts on courses also received support from 60% of all respondents.

53% of respondents would welcome further networking events and opportunities to promote glass businesses.

Whilst only 38% of respondents said they would like SGS to explore opportunities for mentoring, this rose to 50%

amongst student members and professional members with a membership of 5 years or less.

47% of respondents would welcome discounts on wider services such as photography, 41% would like to see more

organised trips; 38% would like to see legal assistance and 16% would like to see other discounts.

In written responses to the question, the following additional suggestions were noted:

Our own glass trade show.

Try to also attract non-artist/student to join the Society, such as collector/buyers, museum curators,

schools/colleges, dealers/galleries.

Outdoor, one day events/exhibitions.

Some form of online chat group.

Links with other visual arts organisations.

Table 11

0

5

10

15

20

25

30

On

line

exh

ibit

ion

s

Sho

wca

ses

of

wo

rk o

uts

ide

Sco

tlan

d

Pro

fess

ion

al in

sura

nce

Lega

l ad

vice

Pro

fess

ion

al d

evel

op

men

t o

pp

ort

un

itie

s (i

.e. r

eso

urc

es /

wo

rksh

op

s)

Org

anis

ed t

rip

s

Net

wo

rkin

g ev

ents

Op

po

rtu

nit

ies

to p

rom

ote

yo

ur

artw

ork

Op

po

rtu

nit

ies

to p

rom

ote

yo

ur

glas

s b

usi

nes

s

Men

tori

ng

op

po

rtu

nit

ies

Dis

cou

nts

on

to

ols

Dis

cou

nts

on

mat

eria

ls

Dis

cou

nts

on

co

urs

es

Dis

cou

nts

on

ser

vice

s (e

.g. p

ho

togr

aph

y)

Oth

er d

isco

un

ts

Which membership benefits would you like us to explore?


3 Fees

3.1 Membership fees

Thoughts on the current membership fees shows general support for the current system (tables 12-15), though a

number of members feel that professional, student and corporate memberships especially are too low (16%, 15%

and 26% respectively).

In the written responses it was noted that:

fees for practicing artists could well be covered by the supplier discounts offered;

current fees ‘did not generate sufficient revenue to offer member benefits, run events, support the website’;

fees seem low in comparison to other comparable organisations;

collectors should be being encouraged to donate at higher levels;

marginal increases (e.g. £5 for individual membership and £20 for corporate membership) may be have little

impact on membership numbers;

corporate membership could be based on number of staff;

there seemed to be a disparity between student membership at £17 (which has access to all benefits) and

Friends membership at £25 (which does not allow access to discounts or entry to exhibitions).

Table 12 Table 13

Table 14 Table 15

Membership fee level: Professional membership

Fair level

Too high

Too low

Membership fee level: Student membership

Fair level

Too high

Too low

Membership fee level: Corporate membership

Fair level

Too high

Too low

Membership fee level: Friend of SGS

Fair level

Too high

Too low


When asked how they would like to pay for their membership (table 16), there was a clear preference for annual

membership with a split between those who would like payments to be taken automatically (58%) and those who

would like to be prompted to make a manual payment (32%). This reinforces the understanding that both options

should be being offered.

Table 16

3.2 Exhibition fees

Referring to tables 17-19, whilst there is broad support for the standard submission and student submission fees for

exhibitions charged in 2018, with 66% and 75% respectively believing this was a ‘fair level’, a significant proportion

of respondents felt that the fees were too low (31% and 21% respectively).

Similar sentiment was expressed for invigilation fees where members who were not able to offer support for the

exhibition by providing at least one half-day of invigilation cover were asked to pay towards the costs of covering

this, with 89% believing that the fee of £15 was a fair level and 11% believing that this was too low.

Further comments on this topic included:

A request for further context in terms of how much commission is taken on any sale.

Consideration could be given to creating a cost for each item above the first item, e.g. second and/or third at

£10 each - with the half price structure continuing through for students.

This was fair and a good way of ensuring invigilation cover. The 2019 exhibition cost is a lot higher - possibly

too high in comparison.

Unusually low to have three entries for £25. Normally £20 per item I think.

You're displaying your work, advertising getting yourself known and maybe selling an expensive piece of

work. It would be far more costly to do it by yourself.

How would you prefer to pay for your membership?

Annually with an advanced email reminder sent but payment taken automatically

Annually with an email reminder sent to me to pay

Monthly by direct debit


Table 17 Table 18

Table 19

4 Supporting the wider glass sector

84% of respondents indicated that supporting the wider glass sector is a key reason for continuing their membership

with SGS. When asked how the Society should be supporting the sector (table 20) there was wide support for a

range of measures including:

promoting opportunities to explore contemporary glass in Scotland (88%);

working with institutions to promote formal learning (81%);

partnering with international organisations to promote the Scottish glass scene (78%);

creating new projects which involve commissioning new glass works (71%).

In addition, 50% of respondents supported developing opportunities to explore historic glass in Scotland and 47%

supported the idea of bringing international artists to Scotland.

Open Exhibition: Standard submission fees

Fair level

Too high

Too low

Open Exhibitions: Student submission fees

Fair level

Too high

Too low

Open Exhibitions: Invigilation fees

Fair level

Too low


Table 20

Responses to the question about wider support SGS should consider offering included:

The SGS could create a further and higher education network so that the delivery of education in Scotland is

better understood which in turn creates opportunities to invite new members and assist in the promotion of

those courses.

A member's forum on the website would be useful as a professional place to post questions about glass etc -

a step up from Facebook

As you know, the 'International Festival of Glass' happens every two years, and includes their own exhibition,

the 'British Glass Biennale'. There are always several other exhibitions taking part at this time, and most are

in relatively the same location or district. It is the one time, every two years, that many of our glass

community are in the same place over a Bank Holiday Weekend, and feel that the S.G.S. is missing out on a

wonderful opportunity here to showcase its Members work (one way or another). C.G.S. and the Guild of

Glass Engravers have regularly shown at this event, and it just seems such a pity that other main glass group

in the UK isn't there (aside from the S.G.S. Members that either get selected for the 'Biennale' and are also

Members of C.G.S. and apply for their 'Open Exhibition'. ... However, I do appreciate that things cost money

and Members would have to be willing to help out/set up/invigilate for it to all work. :-)

Perhaps some kind of informal meeting for members/artists to come together to chat about projects/

issues/ techniques new advances or suppliers etc. Up to 4 times a year. Maybe a loose agenda but primarily

informal. The venue could move around the country so that everyone is included.

Sharing articles in Journals of other glass organisations such as BSSG.

I'm a more recent member and so far the opportunity to exhibit has been invaluable to me, so thank you for

that! As my practice develops I would hope to become more involved with other aspects of the Society.

0

5

10

15

20

25

30

Working with institutions to

promote formal learning

Creating new projects which

involve commissioning

new glass works

Working to bring international glass artists to Scotland

Partnering with international

organisations to promote the Scottish glass

scene

Promoting opportunities to

explore contemporary

glass in Scotland

Promoting opportunities to explore historic glass in Scotland

How should we be supporting the wider glass sector?


5 Next steps

This survey was undertaken as part of the SGS@40: Future of SGS project, which is supported by Creative Scotland’s

Open Project Fund.

Further feedback will be gathered from corporate members, non-members (including lapsed members and those

working in the sector in Scotland who have never been members) to gain a wider picture of the way the Society can

support individuals, organisations and the sector as a whole.

The information gathered will be used to prioritise the work carried out throughout the remainder of the project,

and to inform recommendations for the Society’s work going forward.

If you have any comments or would like to provide feedback on the work of the SGS, please contact Kirsten Gow,

Project Manager for SGS@40: The Future of SGS at [email protected].

The Scottish Glass Society gratefully acknowledges the support it has received from

Creative Scotland’s Open Project Fund for the SGS@40 project.

mailto:[email protected]

Appendix 2

Attendees at the focus group were asked to rate potential SGS activities identified through earlier surveys to identify

the key priorities for the organisation and how these should be developed.

Participants were also asked about their thoughts on who should do the work / how much membership rates should

be.

Member Support

Participants were given the following list of potential SGS activities, as identified through earlier surveys, and asked

to choose their top three priorities.

• Providing members with opportunities to showcase their work through open and / or juried exhibitions in

Scotland at least once a year.

• Developing a programme of online exhibitions on the SGS website throughout the year.

• Working with partners to investigate and secure opportunities for activity in the wider UK and internationally

– e.g. presentations at IFoG / exhibitions / international exchanges.

• Securing additional member benefits and discounts.

• Providing creative and professional development opportunities.

• Improving online presence – developing website and social media profiling of members.

• Creating projects which involve commissioning new glass works.

Top three priorities

• Providing opportunities for showcasing work / exhibiting.

• Securing member benefits and discounts.

• Providing creative professional development opportunities.

Participants noted that all three priorities are of benefit to all practitioner members regardless of where they are in

their career.

Alongside SGS, who should be doing the work in this area?

SGS should be collaborating with members and other societies / arts organisations.

The Society should be seeking professional assistance for services / advice.

The Society should act as a representative of their members to galleries, suppliers, etc.

Further discussion around this topic noted that there were skills and expertise within the membership, but that

members should not be expected to offer specialist services for free.

What resources do we need to carry out this activity?

Funding – for people / time.

Possibly a need for premises.

Additional support for members.

Further discussion around this topic noted that:

Time / money was the key resource needed.

The best approach would be to have a paid professional supported by volunteers.

Is there anything else we should be considering?

Should we be offering insurance similar to the Scottish Artists Union / Arts Network?

Is there need for an online forum – who would administer this?

More workshop visits would be welcome.

‘How to’ videos would be good.

Education



• Working with partner organisations to promote glass to children and school teachers.

• Signpost routes to studying glass and developing skills on a formal and informal basis.

• Further developing student awards programme.

• Actively engaging with students studying glass courses, including leisure courses.

• Working with partners to develop new educational opportunities including mentorships / apprenticeships.

• Working with educational institutions and businesses to support and promote formal education

opportunities.


Promoting glass to children / schools and signposting routes to glass education.

Working with educational institutions and businesses to support and promote learning.

Actively engaging with students studying glass courses.

Further discussion around this topic noted that:

The sector is seen as ‘ageing’ and fresh blood is needed to allow it to continue and grow.

There should be a mid-term strategy for glass education, not just short term fixes.

Stronger links should be made with business to encourage more options for education outside of the formal

route.

Evening classes / leisure courses are more prolific than ‘formal’ education routes and should be included

when considering education.


Skills Development Scotland.

Creative Scotland.

Local Authorities (education dept).

SQA – curriculum inclusion.

Further and Higher Education institutions.

Schools.

The business community.

Further discussion around this topic noted:

The glass sector in Scotland is under threat, and a large part of this is down to diminishing educational

opportunities.

Strategic bodies need to be involved in improving education.


Education representative.

Funding support for an education programme.

A pool of practicing glass artists able to engage with education (careers days etc).


There is a role for an SGS education rep (not just a student rep).

This role requires funding – for both the rep and the activity they would carry out.

There should be some assistance to help schools access the tools and resources they need to develop glass

education.

Training, guidance and payment should be provided for practitioners wanting to work in this area.


Health and safety / risk assessments – take professional advice


Practitioners / institutions are often keen to develop this area but don’t know how.

There should be a pool of practitioners Local Authorities can engage with.

Should make the most of STEAM (Science, Technology, Engineering, the Arts and Mathematics) initiatives –

glass is a great combination of science and maths.

Sector Support



• Representing the sector in consultations with Scottish Government and other bodies.

• Providing listings of events, exhibitions, studio spaces etc on the SGS website.

• Working with educational institutions and businesses to support and promote formal education

opportunities.

• Investigating opportunities to develop a wider range of awards which recognise different routes to

education / creative development.

• Proactively networking to strengthen cross and inter-network communication and identify opportunities for

collaboration.

• Developing international partnerships to promote the Scottish glass sector.

• Developing opportunities to explore the contemporary and historic glass scene in Scotland – e.g. developing

audio trails, artists map, etc.


Representing the sector in consultations with Scottish Government and other bodies.

Proactively networking to strengthen cross- and inter-sector communication and identify opportunities for

collaboration.

Developing opportunities to explore the contemporary and historic glass scene in Scotland – e.g. developing

audio trails, arts maps, etc

Further discussion on this topic noted that sector development is important but member support should be

prioritised.


Businesses.

Confederation of British Industry / Federation of Small Businesses.

Craft Scotland / Creative Scotland.

Visit Scotland.

Historic Environment Scotland.

Contemporary Glass Society / other artists networks.

International Festival of Glass.

Museums including the National Museum of Scotland.

Northlands.

Churches / others with important glass collections.


Money / time / funding.

The contacts / network, access to organisations.

Specialist support to develop media.

Further discussion on this topic noted the importance of developing an ‘elevator pitch’ for the sector. Why is it

important / what does it need / what do we want from you.


How do we co-ordinate the pool of resources / knowledge?

Churches are not poor / windows will need repairing – they could be good partners for some projects

Develop talks on church windows.

Can we provide SGS accreditation – made in Scotland?

Key links to education.

We need to develop voice for lobbying purposes.

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